One:lab

14/05/2026

Just published:
Performance Pedagogy: Objects, Transfers, Formations
Edited by Felipe Cervera, Diana Damian Martin, Eero Laine and Theron Schmidt

This book is very special to me -
The chapter ‘Co-Creating: Don’t Be Like Me’ was co-written with Vishnucharan Naidu (Vishnu) who is a founding member of the BTBAF (Business Times Budding Artists Fund) Youth Theatre programme and is currently teaching the seventh (or eighth?) cohort of young people in the fully funded Youth Theatre programme. We began this chapter with a quote that Vishnu brought: ‘Don’t be like me’.

What would you have said as a teenager if your parent told you ‘Don’t be like me’/

‘Don’t be like me’ is a sentence that individuals living in challenging home environments often hear their parents and loved ones say. This prompted Vishnu, my co-writer, to ask the question: Who do you become then? The responses of 8 young performers inspired I AM_____, a verbatim theatre performance that explored the question of who they could be when unconstrained by the labels of failure imposed on them by Singapore’s formal education system.

As we read and responded to draft contributions from authors in this edited collection, the chapter on Cohorts by Eero Laine, Dahye Lee, Robyn Lee, Evan Moritz, Yao Kahlil Newkirk and Bella Poynton made us think about what it meant to be an alumni of BTBAF (The Business Times Budding Artists Fund). Does this cohort formation predominantly identify these young people as financially disadvantaged or immensely talented and deserving of sponsorship and support? When we reconcile ourselves to the conclusion that these young people served by BTBAF are BOTH immensely talented and financially disadvantaged, does artistic talent become a secondary measure of deservedness that reinforces the myth of meritocracy? BTBAF donors are often persuaded to support these young people because they have demonstrated talent in the arts. How does this sit with the belief that the opportunity to express oneself through the arts should be accessible to all, regardless of talent?

Perhaps, if we believe that the arts should not be instrumentalised as an alternative measure of deservedness then we should repurpose the practice of auditioning young people for performance training programmes. What if our performance curriculums were developed based on the young people’s performance needs and openness to learning at these auditions? Then, I suggest, instead of auditioning based on demonstrated artistic potential, we would be creating a curriculum that is responsive to the performers’ needs and enhancing support of their development as artists. Instead of moulding student performers for work in a theatre industry that still has much to do in terms of addressing systemic racism (Bakare 2021; Adebayo et al. 2020) and ableism (Thom 2021), such a curriculum would enable conservatoires to play a more active role in developing performers who will shape a more inclusive theatre industry.

This is the open access link to the book:
https://www.bloomsburycollections.com/monograph?docid=b-9781350399334

And this is the link to our chapter:
https://www.bloomsburycollections.com/monograph-detail?docid=b-9781350399334&pdfid=9781350399334.0010.pdf&tocid=b-9781350399334-0000988

14/01/2026

And finally, this is out.

We started working on this towards the end of 2021, in the midst of the COVID pandemic. In that time, I've given birth to a child and I feel like I've become a different person. The first thing the baby did was point to the crane and go 'brrrr.....'
This book means a lot to me for so many different reasons. Such an honour to work with the amazing Sally Mackey on this. There were days when it felt impossible to look after a newborn and write anything at all. I have learned a lot from Sally's patience, support and guidance throughout this process. It's made me think about the editing process as an opportunity to nurture others, to support each others' development through the process.

Published first online on 6 Mar 2025.
Hard copy received in the post today (18 Mar 2025)

Part of the Performing Landscapes series, the edited collection Performing Homescapes comprises contemporary explorations of performing diverse iterations of landscapes of homes. Often situated outside a conventional home-as-house and intimate dwelling, global sites and practices are represented. A pluriverse of homescapes offered from international voices and practices, this curated collection suggests an expanded understanding of the performance of home/scapes as a new intervention into the fields of performance and home scholarship.

Performing Homescapes authors present an original critical engagement with the social, political, ecological and cultural landscapes that shape and sustain affects related to the notion of home, unhomeliness and, even, solastalgia. The impact of the social, political and cultural landscapes on relationships with ‘homes’ are foregrounded in the collection with certain chapters attending to the more-than-human, human relationships with the Earth and the co-creation of homescapes within and beyond dwellings.

14/01/2026

RiDE 2056: The Futures of Drama Education and Applied Theatre and Performance

What will the terrain of applied theatre, drama education and applied performance look like by 2056?
Will academic journals like RiDE (Research in Drama Education) even exist in 30 years?
What new methodologies and modes of knowledge sharing will there be?
And what is the relationship between possible futures of practice and scholarship and the pasts and presents of the field?
Arguably, this is an age where it has never been more important, and never more difficult, to imagine the future.
What still remains unimaginable?

This special 30th anniversary issue of RiDE brings together fiction, speculative articles, practitioner reflections and research articles from Thailand, Nigeria, Kenya, Canada, Belgium, Netherlands, Norway, Portugal, Chile, Australia, Singapore, South Africa, USA and the UK.

It has been an honour to work with Nic Fryer and Natalie Lazaroo to bring this issue together over the last 2.5 years (my email archive says we started 31 May 2023).

We have worked really hard with the Editorial Team at RiDE to curate and include submissions that innovatively experiment with what writing and research might be - I am especially thankful to Molly Mullen and Selina Busby for helping us navigate the complex terrain of academic publishing in order to realise our vision for RiDE 2056.

So this is the link to RiDE 2056: https://www.tandfonline.com/toc/crde20/30/2

And here's our editorial introduction: https://www.tandfonline.com/.../10.../13569783.2025.2589187

And if you're interested in shaping the future of AI (artificial intelligence) through subversive participation, do consider reading my speculative contribution on AI archives at this link (first 50 downloads/reads are free): https://www.tandfonline.com/eprint/HZDATV8ZMASMEXBCDT9M/full?target=10.1080/13569783.2025.2592589

05/06/2025

Take Care: Postgraduate and Early Career Researcher Workshop
Thursday 28 August, 5.15pm-6.30pm

What does it mean to take care - of others, of ourselves, of our research, and of the worlds we inhabit? In today’s increasingly precarious academic and artistic landscapes, care is not just an ethic, but a site of deep struggle, a mode of survival, a form of solidarity, a refusal of disposability, a strategy for collective healing, and a practice of resistance. It is something we extend, receive, perform, withhold, negotiate, and sometimes can only long for. It shows up in the ways we hold space for one another, in the silences of institutional neglect, in our day-to-day rhythms of rest and refusal, and in the improvised choreographies of everyday sustenance. Care, as we see and experience it, is also shaped by context: by race, class, caste, gender, geography, and is often distributed unevenly. It is both structural and intimate; it is both personal and yet, deeply political.

This year’s Theatre and Performance Research Association’s PGR and ECR session invites you to take time and care to enter a creative, collaborative, and a critical exploration of care as it unfolds through our research, artistic and academic practices, and our everyday lives, especially within the precarious conditions that shape the institutions that hold us.

This will be a hybrid session. We will begin with a short collective creative facilitation, drawing from our own practices to initiate conversations on, and imaginations of, care as both an embodied and conceptual practice of resistance. We then move into four facilitated breakout discussions, each looking into different dimensions of care, its need, its presence and its absence in relation to our research. The breakout groups include:

● Balancing Care and Research: For those navigating the challenges of day-to-day caregiving, whether for children, parents, partners, or friends, while holding space for research, teaching and practice.

● Decolonising Care: Reimagining care beyond colonial logics of extraction and productivity, rooted instead in reciprocity and resistance.

● Ecologies of Care: Thinking through the different webs of relationality that connect us and how processes of collective imagination can articulate new pathways of care, sustainability, and resilience.

● [Care]: Exploring the withholding, removal, or strategic absence of care. From institutional neglect to everyday precarities - lost funding, jobs, sudden relocations, invisible labour, we ask: what does it mean to survive and resist in spaces where care is not a given, but has to be demanded, fought for, or furtively snatched?

Together, we hope to hold space for thinking, moving, and imagining differently with care. We warmly welcome PGRs and ECRs from across performance disciplines to join us.

An overview description of the plenary event, Take Care: Postgraduate and Early Career Researcher Workshop.

11/02/2025

And it's out!
Skate/Worlds: New Pedagogies for Skateboarding is Open Access (free to download) and now available online at https://books.ugp.rug.nl/ugp/catalog/book/208. Co-edited with the amazing Sander Hölsgens, featuring 10 chapters and 256 pages of writing by heavy hitters in skate education.

The soft cover/print will follow shortly...they are already available for pre-order at many online bookstores (if you prefer the feeling of paper in your hand).

Cover design: Judith Leijdekkers

- On-site launch event: 10 March, Leiden, NL
- Online launch event: tba with Goodpush Alliance

Contributors: Åsa Bäckström, Rhianon Bader, John
Dahlquist, Jessica Forsyth, Sophie Friedel, Arianna Gil, Sander Hölsgens, Lian Loke, Sanné Mestrom, Douglas Miles, Nadia Odlum, Adelina Ong, Noah Romero, Esther Sayers, Indigo Willing

11/12/2024

CFP: SCALE

Imagined Theatres



Physical Scale - Conceptual Scale - Relational Scale - Collaborative Scale - Cultural Scale - Historical Scale - Performance Scale - Spatial Scale - Durational Scale



Imagined Theatres is interested in work for a special issue “On Scale” for a forthcoming issue of the journal that will be published in late 2025. As an art form that is notoriously resistant to reproduction or replication, performance is similarly resistant to scaling. Often considered in terms that are hyper-local, ephemeral, and live, performance appears to not scale as readily as some communities, goods, services, or even other forms of art. And yet, performance often requires us to think beyond its own spatial and temporal immediacy. That is, we often proceed as if performance will have an impact beyond the immediate and apparent scale of its “ontology.” Additionally, performance is often indexed to a scale that can only be described as “human,” with subjects and objects viewed, heard, and experienced by senses at the human scale. We are interested in work that pushes the limits and boundaries of these performance scales and reconsiders the ways we think in and across the scales of performance—from the micro to the macro, the nano to the planetary, the particular to the universal.



Scale is not only size, of course. Scale is a relation across two points. Perhaps like theatre and performance, which needs a performer and a witness or audience (even as these roles are not strictly fixed), scale describes a way of relating, a connection, a comparative possibility between or among distinct positions. For instance, Sarah Ruhl notes that “an audience of one is not really an audience but instead a form of intimacy, a form of listening” (Ruhl 2014: 134). If the relation between one audience and one performer is intimacy, what is the relation between a performer and one hundred people, or a million or a billion or everyone who has ever lived and will live? Thinking in scales moves us quickly across possibilities and stretches us to think towards impossibilities. That is, even in starting with a basic theatrical equation (audience plus performer), we begin to see the limitations of theatre and performance in terms of duration and space.



We are already familiar with some things that exist on scales that elude our ability to fully comprehend, let alone articulate, from the climate crisis to pandemics to war and political upheavals. Performance can seem inconsequential in terms of its ephemerality and reach—what can a local performance even do in face of such profound, existential problems? Writing about performance can similarly seem to speak to a niche audience too small for the activism required. Yet, thinking with scale and at scale with scholars and artists across the planet, we might reimagine the limits of performance and the possibilities for experimental collaboration.



About the Journal

Imagined Theatres gathers hypothetical performances that explore the limits of what is possible and impossible in the theatre. The project began as a book (published with Routledge in 2017) and now exists as a peer-reviewed open-access journal and archive of scripts, scores, poems, and occasionally non-textual objects, describing or invoking an imaginary event. We publish material by people working in performance as makers and theorists, but also welcome propositions from non-theatrical artists and thinkers.

Here are some examples from the site that show the range of work we publish:

● Mwenya B. Kabwe: http://imaginedtheatres.com/prompts-for-future-africa/

● Andrew Sofer: http://imaginedtheatres.com/private-language-argument-ii/

● Sonia Teuben (of Back to Back Theatre): http://imaginedtheatres.com/this-is-me-draft/

● Harvey Young: http://imaginedtheatres.com/in-character/

● More here: https://imaginedtheatres.com/

Each “theatre” proposes a conceptual event that puts pressure on the expectations and limit cases of performance, whether those bounds are defined by political, financial, ethical, or traditional structures—or the very physical dimensions of time and space. They may be staged in some future theatre or they may exist solely as theoretical provocations. Each piece is set in dialogue with at least one “gloss” that resonates, extends, illuminates, or distorts its host theatre, embracing in the fullest sense of the word “gloss” as an explanation, a concealment, and as a lustrous surface. These responses, too, take on many formal guises, playing at more conventional exegesis or setting off on their own lines of escape: they, too, may be scripts or scores, poems or manifestos, private essays that take up some aspect of the host and move it elsewhere.

Submissions of written texts or in other media are welcome. The journal typically emphasizes short work, ideally under 500 words or 5 minutes of time-based media, but this is not a fixed limit and given the theme of the issue we welcome proposals that defy such guidance. We especially welcome contributions that stretch the theme in both form and content and provoke reconsideration of the possibilities of collaborative authorship.

Please forward submissions of “Theatres” and expressions of interest in writing a “Gloss” to the Issue Editors:

Adelina Ong: [email protected]

Eero Laine: [email protected]

Sozita Goudouna: [email protected]



Deadline for first draft of “Theatres”: February 20, 2025

Anticipated publication: late-2025



About the Issue Editors

Our work on the notion of scale emerges from research conducted through the Ends Network and a forthcoming book on performance amidst what often feels like end times that was co-authored by fifteen performance scholars and artists from across the planet.



Sozita Goudouna (she/her) is visiting professor at Goldsmiths where she initiated the MA on “Breath Studies” and the author of Beckett's Breath published by Edinburgh University Press.



Eero Laine (he/him) is associate professor and chair of the Department of Theatre and Dance at the University at Buffalo, State University of New York.



Adelina Ong (she/they) is an independent applied performance researcher who works with young people from low-income families in Singapore and London (2003 - present).

A host of speculative playlets, skirting genres from fantasy to sci-fi, utopia to dystopia, alternative history to the end of history.

12/09/2023

RESEARCH IN DRAMA EDUCATION (RiDE) 30:3 –
RiDE 2056: THE FUTURES OF DRAMA EDUCATION AND APPLIED THEATRE AND PERFORMANCE

As RiDE celebrates its 30-year anniversary in 2026, this themed issue invites critical and imaginative consideration of applied theatre and drama education futures. What will the terrain of applied theatre, drama education and applied performance look like by 2056? Will academic journals like RiDE even exist in 30 years? What new methodologies and modes of knowledge sharing will there be? And, what is the relationship between possible futures of practice and scholarship and the pasts and presents of the field?
Arguably, this is an age where it has never been more important, and never more difficult, to imagine the future. Then again, perhaps this sentiment has been expressed at least once a decade in the face of anti-utopianism, in the midst of yet another recession or when all political options seem hopeless (Muñoz 2009, 10). Theorists engaged in social-futures thinking have asserted that so-called new radical visions of the future have not differed significantly from ideas born in the past (Dunn 2018, 376). What still remains unimaginable?

Afrofuturism defiantly claims that the ‘imagination is a tool of resistance’ (Womack 2013, 22). José Esteban Muñoz’s hopeful q***r futurity (Muñoz 2009, 18) and Maxine Greene’s concept of the social imagination (2000, 5) pushes us to imagine what is possible beyond the limitations of the present. Engaging with Futures Studies and futures thinking enables us to ‘consider not only the changes that appear most probable, but also the ones that we are not expecting’ (Schleicher 2020). This issue considers the part that applied theatre and drama education practitioners and academics across the planet can play in making hopeful, q***r and radical futures more, or less, imaginable (or possible).

Might current conditions lead to bold(er) imaginings in the forms, styles, content, and nature of participation in the field? As technologies interface with applied theatre and performance, shifting and disrupting the notion of ‘presence’, this could mean letting go of conventional ideas of physical and/or temporal co-presence, and embracing alternative modes of participation. With the rise of AI, questions and concerns may arise regarding the role that artists, drama educators, and applied performance practitioners play in terms of education, performance and future content creation. Technological developments such as AI and the role of social media will create further disruptions to conventional notions such as character(s), liveness and presence. Applied theatre and performance that critically wrestles with transhumanism could challenge current conceptions of what the human might be and offer new insights beyond a neurotypical view of the world. While these technological innovations can offer promising possibilities, there is always the question of what should remain of conventional theatre, drama education and performance practices in these radical futures.

Anti-colonial movements across Africa (Paraskeva 2023) and the foundational work of Paulo Freire (1996) have shaped how drama education and applied performance enable participation of ‘nondominant communities’ (Gutiérrez, Morales and Martinez 2009) in imagining these futures. Arjun Appadurai has argued that ‘even the poorest of the poor should have the capability, the privilege and the ability to participate in the work of the imagination’ of the future (Appadurai 2001, 46). How might drama education and applied performance play a part in reconfiguring power relations of the future?

This special themed issue invites research articles (maximum 9,000 words, including references), as well as shorter reflections and provocations on existing and past projects, pedagogies and performances that seek, or which sought in their historical context, to engage with the future. We welcome submissions that innovatively experiment with what writing and/or research in the future might be. We also invite speculative, imagined journal entries from RiDE 2056, outlining the projects that are likely to be needed in the future we are likely to have. We encourage creative and unconventional responses. We particularly welcome contributions from practitioners, artists, postgraduates and early career researchers. These contributions could address the nature of forms, styles, content, and participation pertaining to the relationship between drama education, applied theatre, applied performance and futures based on one of the four following themes:

Imagining futures
Creating the possibility of futures
Planning and realising futures
Protecting futures

Please send your proposes abstracts of 350-500 words and a 100-word biography to Nic Fryer ([email protected]), Natalie Lazaroo ([email protected]) and Adelina Ong ([email protected]) by 31 October 2023.
Deadline for first draft of manuscripts June/July 2024.
Final copy deadline June 2025.

BIBLIOGRAPHY:

Appadurai, Arjun, and Arjen Mulder. 2002. ‘The Right to Participate in the Work of the Imagination’. In TransUrbanism, edited by Joke Brouwer and Arjen Mulder. Rotterdam: V2_Publ. http://v2.nl/publishing/transurbanism.

Dunn, Nick. 2018. ‘Urban Imaginaries and the Palimpsest of the Future’. In The Routledge Companion to Urban Imaginaries, edited by Christoph Lindner and Miriam Meissner, 375–86. London & New York : Routledge, Taylor & Francis Group.

Freire, Paulo. 1996. Pedagogy of the Oppressed. Translated by M. Bergman Ramos. London: Penguin.

Greene, Maxine. 2000. Releasing the Imagination. San Francisco: Jossey-Bass.

Gutiérrez, Kris, P. Zitlali Morales, and Danny C. Martinez. 2009. ‘Re-mediating Literacy: Culture, Difference, and Learning for Students from Nondominant Communities’. Review of Research in Education 33 (1): 212-245.

Paraskeva, João M. 2023. ‘Foreword: Alternative Ways to Think and to Do Critical Theory and Pedagogy Alternatively’. Critical Education In International Perspective, edited by Peter Mayo and Paolo Vittoria. London: Bloomsbury.

Schleicher, Andreas. 2020. ‘Future Proof? Four Scenarios for the Future of Schooling’. OECD. https://oecdedutoday.com/future-proof-four-scenarios.../

Womack, Ytasha. 2013. Afrofuturism: The World of Black Sci-Fi and Fantasy Culture. First edition. Chicago: Chicago Review Press.

03/07/2023

Published first online: 'Synthetic Reworldings Through Play' in The Handbook of Children and Youth Studies.

A big thank you to Helen Cahill and Christine Balt for your guidance and insightful editorial advice.

Many thanks also to Joe Parslow, Yaron Shyldkrot and Lisa Woynarski for looking over drafts of this chapter and providing thoughtful suggestions.

And most of all, a big thank you to all the young people who participated in these workshops online and in-person. You have taught me so much.

This is the public link: Synthetic Reworldings Through Play. In: Wyn, J., Cahill, H., Cuervo, H. (eds) Handbook of Children and Youth Studies. Springer, Singapore. https://doi.org/10.1007/978-981-4451-96-3_124-1

01/06/2023

Please join us for this year’s Theatre & Performance Research Association’s (TaPRA) PGR all-day symposium, Up Close and Personal: Exploring the relationship between the researcher and their subject. The event is free to attend.

When: Thursday, June 22nd
Where: in-person at the Guildhall School of Music & Drama, Milton Court, 1 Milton Street, London, EC2Y 9BH

Who: The symposium is open to all postgraduates (PhD or MA) and early career researchers. Please note that you do not have to be a member of TaPRA to attend.

Register: https://www.eventbrite.co.uk/e/646152187587

More about the event:
Up Close and Personal: Exploring the relationship between the researcher and their subject
It is usual to begin a research presentation by positioning yourself alongside your subject, but often these moments are brief and quickly eclipsed by the topic under discussion. For our first in-person postgraduate symposium since 2019, we would like to invite you to join us for a series of panels and discussions that place this moment of context positioning at the centre of the discussion of emergent research in theatre and performance.
How is your research shaped by you, the researcher?
How does ‘who you are’ wrap around your research?
What was the spark that ignited your research project?
How is this shaping the contribution you want to make to your discipline or areas of focus?
What we research undoubtedly has something to reveal about our values and responsibilities. Former PhD student Rabbi Dr Jonathan Romain suggests that “you want to be sufficiently in love with your theme to have the will to complete it” (Russell 2008). The ‘love’ for your theme, territory or topic might have arrived in a different form – you may have been spurred to investigate something through anger, frustration, or a sense of injustice, or it may have been a love story in the truest sense.
Throughout this all-day event, we will be sharing more about these points of departure, the underlying intrigue and moments of curiosity that underpin your research.
Participants and attendees will have the opportunity to network, enter in discussion and open debates, share and reflect on their work (and themselves within their work) within a supportive and friendly environment of peers.
For a full schedule, please see the Eventbrite link. If you have any questions, please get in touch: [email protected]

Up close and personal: Exploring the relationship between the researcher and their subject

31/03/2023

CALL FOR CONTRIBUTIONS
Class Concerns: Theatre, Performance and Cultural Policy in the UK
5-7 September 2023

A 3-day event at the University of Glasgow bringing sociological perspectives into dialogue with theatre and performance scholars and creative professionals



Confirmed Keynotes from:

Jenny Hughes with Common Wealth
Dave O’Brien
Sivamohan Valluvan

The long-standing marginalisation of working-class voices and perspectives across the UK theatre industry is now attracting significant mainstream and academic attention as calls for greater class diversity in the cultural sector multiply1. Representations and re-enactments of class conflict populate a diversity of performance models from Arinzé Kene’s Misty to Scottee’s Class. Arts Council England pursues the cultural strand of the Government’s Levelling-Up agenda through a redistribution of public funds to those places that have historically suffered from cultural under-investment and an emphasis on local and community collaboration and engagement for creative activity in those areas.

But questions about what class really means today continue to trouble any straightforward analysis of the many ways in which class discrimination, exclusion and conflict continue to dominate the UK’s stages and cultural policy. What is the meeting point of class and nationalism in the very different contexts of England and the devolved nations of Scotland, Wales and Northern Ireland? How are historical understandings of class complicated by its intersections with race, gender and disability? Does the very idea of class even remain helpful in the current moment when strikes are no longer the preserve of the industrial working-class; precarious employment is endemic throughout the income scale; and the generational imbalance of wealth represents one of the greatest forms of economic inequality?

We would like to open a space in which these, and many more, questions can be interrogated. We would like to invite dialogue between theatre academics and sociologists, creative professionals and cultural policy makers, to explore if class still matters and how best to talk about it:

Is arts scholarship engaging with the complexity of multiple and diverse class positions that sociologists tussle with today?

How does class manifest in all its various intersections? What changes politically if class is highlighted over or obscured by other identity characteristics?

Are there dangers in foregrounding class in conversations about inequality? Who might these conversations marginalise or exclude?

How is class represented on our stages? And to what political end?

How does theatre avoid replicating the damaging and stigmatising tropes of the mainstream when it sets out to stage the ‘working-class’ subject?

How is the ‘middle-class’ subject figured on our stages and in cultural analysis of art and its audiences?

Have recent arts strategy developments across the four nations succeeded in a redistribution of creative agency as well as cultural investment?

Will a greater class diversity in the cultural industries lead to systemic change in the kinds of theatre that is made and the kinds of audiences it engages?

What kind of new production environments, policy-making spaces and creative methodologies might be envisaged or developed that could reject, contest or transcend the exclusionary norms, codes and registers that currently shape the cultural sector?

These are indicative questions and we invite consideration of these, among, hopefully, many others.

The event will consist of a range of different forms of engagement including commissioned performances, panels and keynote speakers.

To this end we invite proposals for short papers (15mins); provocations (5-10mins); pre-curated panels; presentations of artistic practice, workshops, facilitated debates and welcome any other proposed formats. Please contact Elizabeth Tomlin (below) for any initial queries.

Please submit a 300-word abstract and a 50-word biography to [email protected] by Thursday 6th April



This event is supported by the AHRC Research, Development and Engagement Fellowship, Figurations of working-class subjects in UK theatre practice and policy.

1 See industry reports Acting Up 2017, Panic: It’s an Arts Emergency 2018, The Director’s Voice 2018, Incubate Propagate Project Report 2020; and scholarly publications O’Brien et al. 2016, Friedman et al. 2017, Friedman and Laurison 2019, Brook et al. 2020, Tomlin et al. 2020.